Who's Afraid of the Big, Bad 'Woolf'? Theatre-Intime Isn't

My drama director in high school always refused to do "Who's Afraid of Virginia Woolf?" "Young people trying to be screaming adults are unbearable," he used to say. Certainly, the play lauded as playwright Edward Albee's finest work is daunting — an actor's obstacle course and a director's nightmare. And "Virginia Woolf" becomes even more daunting because of the close public scrutiny that accompanies each production.

In Theatre-Intime's current production of "Virginia Woolf," however, director Susan Schaefer '01 completes the task — and does so wonderfully.

The play depicts an evening of "fun and games" between two troubled married couples. George and Martha (Brandon Miller '01 and Anita Konka '01), married 23 years, unleash their emotional battle on their two 20-something guests, Nick and Honey (Chris Bryan '01 and Heather Morr '02), along the way exposing the frailties of hosts and guests alike. Throughout the evening, issues from adultery to failed careers to parenthood fly left and right, revealing the disturbing realities of married life.

As the two emotional puppeteers of the play, Miller and Konka do more than hold their own. Miller impressively manipulates his physicality — he is able to use his tall frame to good effect, whether lounging in chairs, prancing around stage like a lunatic or collapsing in defeat. Miller consistently maintains his character and keeps alive George's tenacious hunger for power — even during the more comedic scenes. His almost-crazy inspiration at the end of Act II, delivered between sobs and half-laughs, is one of the most enthralling moments of the play.

As Martha, Konka gives an outstanding performance — as caustic as it is intriguing. Though playing a character defined by Elizabeth Taylor in the film version, Konka masterfully establishes her own portrayal, using only the occasional Taylor drawl to augment her original approach. From her first entrance, when she heaves a hearty "What a dump!" at her humble abode, Konka uses her versatile voice to give her character bark and bite. Sometimes happily singing, sometimes screaming her head off, sometimes seductively whispering, Konka covers all physical and psychological bases.

Indeed, the variety of line delivery is what makes the two lead actors especially good. With a length of almost three hours, "Virginia Woolf" can become a mental overload if the actors do not give the play the unpredictability it deserves. Miller and Konka properly gauge their characters' feelings, and, tracing the vicissitudes of their roles, they give believable and memorable performances.

As Nick and Honey, Bryan and Morr do a superb job of supporting the action. Bryan's smarmy retorts — occasionally dissolving into frightened disgust or plain old confusion — make his scenes alone with Miller special highlights. Morr, a Triangle Club veteran, uses her comedic experience to create a sweetly annoying Honey, though her best acting occurs during the third act, when her caricature gives way to the harsh reality of dysfunctional marriage.

As the action illustrates, Schaefer's direction lives up to the challenge of the play. Perhaps one of the most convincing aspects of the staging is that it is not at all distracting. Because the four characters are always moving around, going on tirades or playfully stumbling, the play harbors a potentially cluttered staging scheme, but Schaefer works out the traffic pattern in such a way that the audience's focus remains where it should — on the characters and their story.

Schaefer has assembled a fine collection of theatrical ingredients for this production. Set designer Adriel Mesznik '01 — whose brilliantly planned past Intime shows include "Tartuffe," "Arcadia" and Schaefer's production of Caryl Churchill's "Mad Forest" last year — has constructed a set that wows the audience at first sight. Red and green walls that jut in multiple directions and crooked blinds that seem to float in midair suggest the physical and emotional disrepair of George and Martha's household, while, in a stroke of genius, actual beams of wood lie across the stage to act as the creaky hardwood floor. Unfortunately, as Mesznik states in the program, this is his final show at Princeton — making "Woolf" a bittersweet event because, in this writer's opinion, he is the best set designer on campus.

Light Designer Robin Giese '02 does his part effectively as well, complementing the jagged appearance of Mesznik's set with beams of light that cast a spooky glow. In the final scene, Giese's dedication shines subtly when lights set under the floorboards cast an eerie gleam on George and Martha's embracing figures. The moment lasts no longer than five seconds, yet is perhaps the best moment of theatrical lighting on the Intime stage in recent memory.

The costumes, by Jessica Rogers '02, properly complement the characters who wear them. From the slinky fabric of Martha's blouse to the stylish pale suit that Nick dons, the outfits help to convey the personalities of their owners.

All of these elements conspire to create a show that haunts audience members even after they have left the theater. Not a play for those who want fun and games, "Virginia Woolf" appeals to theater-goers who are ready for a shockingly real evening of soul-searching and psychological analysis.